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Category: New Releases

  • Red One (2024)

    Red One (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”]While working on Jumanji: The Next Level, producer Hiram Garcia spoke with director Jake Kasdan about a potential idea. Garcia suggested a holiday movie that offered a more realistic take on Santa Claus and how the North Pole operates. Kasdan liked the idea so much that he agreed to direct, with Garcia producing and co-writing with Chris Morgan. Dwayne Johnson, who worked with Kasdan and Garcia in the past, would be starring for a staggering $50 million. Chris Evans, Lucy Liu, J. K. Simmons, Kiernan Shipka, Kristofer Hivju, Nick Kroll, and Bonnie Hunt joined in 2022. Filming started that October in Atlanta, but due to Johnson’s frequent tardiness and absences, filming didn’t wrap until February 2023. Due to the SAG-AFTRA strike, the studio pushed the film back from its original December 2023 date. With a total budget of $250 million, Red One opened in theaters worldwide in November 2024.

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    Synopsis

    While Santa Claus (J. K. Simmons) prepares for his annual holiday run, a black ops team infiltrates the North Pole. Despite the best efforts of Santa’s chief of security, Callum Drift (Dwayne Johnson), he gets taken prisoner. Drift informs Zoe Harlow (Lucy Liu), the head of the Mythological Oversight and Restoration Authority, about the kidnapping. They discover a mercenary tracker named Jack O’Malley (Chris Evans) was responsible for compromising the North Pole’s secret location. They bring Jack in for questioning, but he says he had no idea what he was doing and that an anonymous buyer paid him. Though skeptical, Drift agrees to accompany O’Malley in finding the buyer to figure out who kidnapped Santa. Through the broker, Ted (Nick Kroll), they learn the kidnapper was the winter witch, Grýla (Kiernan Shipka). It’s up to Drift and O’Malley to stop Grýla and get Santa back to save Christmas.

     

    Review

    Since its release, Red One has been getting negative reviews, and many predict it will fail at the box office. I’m here to say that while I wouldn’t call it outstanding, Red One isn’t as bad as some critics say. If you’ve seen either of the modern Jumanji movies, you should know what to expect with this. Red One isn’t the kind of movie that will offer some life-changing perspective or essential message. It’s a silly Christmas action movie with some big stars and a ridiculous premise that doesn’t take itself seriously. Sure, it may come off as bland or cliche-ridden, but a movie doesn’t have to be original to be entertaining. Granted, much better Christmas action movies like Die Hard and Lethal Weapon are readily available. However, those movies are R-rated, which limits the accessibility for younger audiences, whereas this is PG-13, so bring the kids.

    Despite the production issues he may have caused, Dwayne Johnson still shows why he’s such a bankable lead. He takes the role seriously enough that audiences can buy it, which pairs well with Chris Evans’ sarcastic attitude. Kiernan Shipka is an entertaining villain with her devilish grin and confident presence, and she never veers into camp. Kristofer Hivju is the scene stealer as Krampus, his boisterous attitude and larger-than-life personality making him a stand-out. It helps that the creature effects used to bring him and his guests to life are excellent. Unfortunately, Lucy Liu and Bonnie Hunt aren’t given much to do except occasionally exchange exposition dialogue. Similarly, J. K. Simmons has some great moments with Johnson, but after his kidnapping, he just sits around doing nothing. The rest of the cast comprises unmemorable extras or CGI creations that litter the background.

    Even though this movie isn’t meant to be taken seriously, there are some legitimate problems. For one, at slightly over two hours, it is much too long, and much could’ve been trimmed. A movie like this should’ve lasted 90 minutes, maybe an hour and 45 minutes at max. Also, while the film has some fun, well-shot action sequences, many involve people fighting CGI monsters. Plus, the movie tries adding some emotional depth with a subplot involving Evans’ estranged family that goes nowhere. Depending on your perspective, I had the pleasure or displeasure of seeing this in IMAX, which ultimately adds nothing. If you’re curious, I’d say see it at a matinee showing or wait to rent it digitally. Please don’t go into it expecting anything more than what it is: a fun but silly popcorn movie. Overall, Red One isn’t great, but you could always do worse.

     

    Red One is currently in theaters.

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  • Death Streamer (2024)

    Death Streamer (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]In September 2023, Meta announced a collaboration with EssilorLuxottica to create new Ray-Ban smart glasses. Among its many features, users could livestream everything they saw while wearing the glasses, which caught Charles Band’s attention. These glasses gave him the idea for his second film in his Pulp Noir series: a high-tech vampire movie. He used the Full Moon manor in Cleveland and a rundown church he bought and restored for locations. Despite being told buying this church was a bad idea, Band believed it had potential and continued renovating it. Along with directing, Band co-wrote the screenplay with longtime writer Neal Marshall Stevens, using the pseudonym Roger Barron. After assembling his cast, Band shot in the manor and newly renovated church for roughly six days. Following its announcement in mid-2024, Death Streamer hit streaming services and Blu-Ray/DVD/VHS in October.

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    Synopsis

    Alex Jarvis (Aaron McDaniel) hosts Church of Chills, a true crime podcast with Edwina (Emma Massalone) and Juniper (Kaitlin Moore). While editing their latest episode, Juniper comes across a mysterious livestream depicting a young woman’s bloody death. Little do they know that a vampire named Arturo Valenor (Sean Ohlman) runs the live stream from his hidden lair. Along with his cohorts, Lil Chen (Chili Jean) and Thug (Travis Stoner), Arturo kills beautiful women and streams their deaths. As Alex, Edwina, and Juniper dig further into the streams, they realize that the deaths aren’t staged. Soon, Arturo finds out that the Church of Chills crew knows about his streams and targets them. Alex, Edwina, and Juniper must fend for their lives as they try to tell the world that vampires exist. Will they succeed, or will they be the next victims of Arturo’s death streams?

     

    Review

    Coming off of Quadrant, Death Streamer has much to live up to as the second Pulp Noir movie. I’m happy to say that, while the film has its issues, this is a solid entry in this series. It’s not as strong as the Subspecies franchise from Full Moon’s heyday, but it’s an exciting twist. The idea of a killer live streaming their victims is a unique concept, especially with the killer being a vampire. Sure, in a realistic world, platforms like Twitch, Kick, or TikTok would instantly ban it. However, with the rise of supposed murder streams on the dark web, it’s not out of the realm of possibility. Admittedly, the viewer and sub-count go wildly out of control without rhyme or reason, breaking the immersion. Granted, I can forgive a low budget movie for those mistakes more than a $200-million blockbuster doing the same thing.

    Much like the last Pulp Noir movie, the acting is solid and easily the film’s best aspect. Aaron McDaniel is an enjoyably egotistical and eccentric host that you initially love to hate. As time passes and things worsen, his more human side comes through, and you start liking him more. Emma Massalone and Kaitlin Moore work well off him, providing a mix of sincerity and sarcasm. You can believe that they’ve stuck around for a while despite their bickering and disagreements. While much of their dialogue is exposition-heavy, they at least deliver it in a way that makes it entertaining. Even with the goofy glasses, Sean Ohlman makes for an intimidating vampire that you can believe is a master seducer. Even the side characters, played by Chili Jean and Travis Stoner, have their standout moments.

    Thomas L. Callaway’s cinematography adds plenty of mood and atmosphere to the production, especially with the colored lighting. The lighting reminds me of the look of early Dario Argento movies or Joe Dante’s The Howling. While the title theme gets played a bit too much, Jonathan Walter’s score goes a long way to provide ambiance. Effects-wise, there are some decent practical effects, but there’s also some wonky CGI that sticks out badly. Also, for all the boobs and blood on display, the kills are pretty routine, and none stand out in particular. Despite its 72-minute runtime, some scenes go for slightly longer than necessary, but it’s an otherwise breezy watch. While I wouldn’t call this a modern horror masterpiece, it’s still a decent watch for Full Moon fans and newcomers. Overall, Death Streamer is a decent hi-tech vampire flick and a good sign for future Pulp Noir movies.

     

    Buy Death Streamer from Full Moon Horror: https://bit.ly/3UwPDWu.

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  • Terrifier (2016)

    Terrifier (2016)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]In 2008, aspiring filmmaker and effects artist Damien Leone directed the short film The 9th Circle. In the movie, Leone introduced the character Art the Clown, a new slasher villain initially portrayed by Mike Giannelli. Three years later, Leone directed the short film Terrifier, again with Giannelli, and combined both into 2013’s All Hallows Eve. Leone wanted to follow this up by directing a spin-off featuring Art the Clown, launching an Indiegogo campaign in 2015. Soon after, filmmaker Phil Falcone provided the necessary funds to make the film in exchange for a producer’s credit. Unfortunately, Giannelli decided not to pursue acting further, so newcomer David Howard Thornton became the new Art the Clown. With a budget between $35,000 and $55,000, filming occurred primarily in Trenton, with additional filming in New York and LA. After premiering at the Telluride Horror Show in 2016, Terrifier had a limited release in 2018.

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    Synopsis

    Friends Tara (Jenna Kanell) and Dawn (Catherine Corcoran) are drunkenly walking the streets after leaving a Halloween party. Along the way, they stop at a pizzeria when they run into Art the Clown (David Howard Thornton). After leaving, the girls find that someone slashed Dawn’s tires, so Tara calls her sister Victoria (Samantha Scaffidi) for help. While waiting, Tara asks Mike (Matt McAllister), a pest control worker, if she can use the restroom quickly. Little do the girls know that Art the Clown is the tire slasher with something sinister in store. As Victoria makes her way to Tara’s location, she and Dawn are held captive by Art, who has deadly intentions. Unfortunately, Dawn dies a horrible death, but Tara manages to escape as Art gives chase throughout his lair. Will Victoria make it in time and save her sister, or will Tara end up just like Dawn?

     

    Review

    Terrifier is a pretty basic slasher film, and that’s what makes it so effective. While it doesn’t have the most original story or complex characters, it doesn’t need to. Much like Friday the 13th, it knows what it is and doesn’t try to be anything else. Damien Leone, who wrote, produced, directed, edited, and handled the special effects, made a throwback to 80s slashers and succeeded. Given that the budget was only $35,000, Leone and his team made something that looked better than many big-budget blockbusters. From the colorful lighting to the harsh shadows, it has a low-fi style that helps it stand out. I wonder if Leone took inspiration from Italian filmmakers like Dario Argento and Lucio Fulci, along with American slashers. You can also tell by the effects that his inspirations include legendary effects artists like Tom Savini and Rick Baker.

    Even though their characters aren’t deep, Jenna Kanell and Catherine Corcoran make solid, likable leads. Kanell’s dry, sarcastic delivery and Corcoran’s ditzy, floozy persona make for some great moments and memorable lines. Admittedly, Corcoran comes off as the ditzy blonde you know will die in a slasher, so her death isn’t unexpected. Without getting into spoilers, you almost expect Kanell to be the final girl, but she’s not, which made me sad. Of course, the real highlight is David Howard Thornton as the murderous Art the Clown, whose performance is excellent. While he has no lines, he does a great job expressing emotion through body language and simple pantomiming. He plays Art as someone who revels in hacking people to pieces, all with a morbidly humorous touch. It’s easy to see how Art the Clown has become a modern-day horror icon.

    Of course, the film is primarily known for its over-the-top gore scenes, which are just as gruesome as advertised. Leone does a great job balancing the gore and suspense, making it more effective than if it was just gore. It reminds me of how Sam Raimi managed to blend moody suspense with over-the-top gore in The Evil Dead. Admittedly, the film isn’t perfect, but none of its flaws majorly affect its overall quality. For one, several characters are only there as cannon fodder, such as the exterminators and a strange cat lady. Also, the movie doesn’t do anything similar slashers haven’t already done, just with better effects and modern filmmaking. Still, at only 84 minutes, this slasher throwback gets in and out quickly and never overstays its welcome. Overall, Terrifier is a well-made, if basic, horror film that fans of 80s slashers will love.

     

    Buy Terrifier from Amazon: https://amzn.to/3Af1MIO.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Venom: The Last Dance (2024)

    Venom: The Last Dance (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]Despite mixed reviews, Venom: Let There Be Carnage grossed over $500 million worldwide, becoming the seventh-highest-grossing film of the year. At CinemaCon 2022, Sony announced a third film was in production, with Kelly Marcel returning to write the screenplay. Though Andy Serkis expressed interest in returning, scheduling conflicts prevented this, so Marcel stepped up, making this her directorial debut. In addition to co-writing the film with Marcel, Tom Hardy returned to star alongside newcomers Juno Temple and Chiwetel Ejiofor. With a $120 million budget, filming started in June 2023 in Spain but stalled due to the SAG-AFTRA strike. Filming resumed in November and concluded in February 2024, with the title revealed in March. Due to the delays, Sony pushed the release date to November 2024 before moving it forward to October. Venom: The Last Dance premiered in New York on October 21, 2024, before hitting US theaters four days later.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Eddie Brock (Tom Hardy) and Venom are on the run after being accused of murdering Patrick Mulligan (Stephen Graham). Little do they know that Knull (Andy Serkis), the creator of the Symbiotes, is after them. He’s sent a creature called a Xenophage to find them because they hold the key to free him from imprisonment. These events catch the attention of Commander Rex Strickland (Chiwetel Ejiofor), overseeing Imperium, an organization studying the Symbiotes. Though Dr. Teddy Payne (Juno Temple) wants to research the Symbiotes, Strickland wants to eradicate them. While running from the Xenophage and Imperium, Eddie hitches a ride with Martin (Rhys Ifans) and his family to Vegas. Unfortunately, Imperium captures Eddie, separates him from Venom, and locks him in Area 51 when the Xenophage attacks. With the world’s fate at stake again, Eddie and Venom must make the ultimate sacrifice to stop Knull.

     

    Review

    If you’ve seen the first two movies and loved them, Venom: The Last Dance will undoubtedly entertain you. It has the same look and feel as the odd comic book movies made in the mid-2000s. Granted, thanks to Deadpool & Wolverine, this era of superhero movies is somewhat nostalgic, but not so here. This movie reminds us why that era was problematic, though it has issues similar to recent ones. There’s a weird mix of goofy antics and serious military/conspiracy drama, and neither element gels well together. It feels like co-writer/director Kelly Marcel and co-writer/actor Tom Hardy had plenty of ideas but no clear direction. Like the first two movies, this is a confused mess of ideas and plot points that only exist for convenience. Things happen that only make sense in that they advance the story, no matter how ridiculous.

    One of this trilogy’s few strengths is Tom Hardy’s portrayal of Eddie Brock and his relationship with Venom. This film expands that relationship further and makes it essentially a road movie, ala Planes, Trains, and Automobiles. Seeing the two bicker and argue is where most of the movie’s humor comes from, and it works great. Adding to that is Rhys Ifans as a hippie dad who’s obsessed with visiting Area 51 with his family. However, as entertaining as they were initially, the movie keeps bringing them back when they’re not needed. Speaking of Ifans, there are a lot of actors who feel underutilized here, including Juno Temple and Chiwetel Ejiofor. Ejiofor’s character, in particular, feels like anyone could’ve played him, and it wouldn’t have changed anything. Say what you will about the second movie, but at least Woody Harrelson was a welcome addition.

    Like many modern superhero movies, the last act is just one big battle with CGI overload. While seeing all these symbiotes fighting giant aliens is somewhat fun, it’s nothing we haven’t seen before. The third act feels reminiscent of the 2023 Spider-Man 2 video game but without a riveting story and interesting characters. That said, Kelly Marcel’s direction isn’t terrible, and I hope she gets better projects to work on. Plus, the movie is only an hour and 49 minutes long, a bit long but not too long. As I mentioned at the start of this review, you already know whether you will see this. If you adore the first two, you’ll love this, but if not, this won’t convert you. Overall, Venom: The Last Dance is a mediocre finale to a trilogy that had potential but squandered it. But, at least it’s better than Morbius.

     

    Buy Venom: The Last Dance from Amazon: https://amzn.to/3M3UywE.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Venom: The Last Dance (2024)

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  • Smile 2 (2024)

    Smile 2 (2024)

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    2022’s Smile was a surprise hit, grossing over $217 million worldwide against a $17 million budget. Following its success, Paramount Pictures gave writer/director Parker Finn a first-look deal to develop future projects. At CinemaCon 2023, Paramount announced that a sequel was in pre-production, with Finn returning to write and direct. Finn intentionally left certain elements ambiguous, hoping to explore those themes in a sequel that would be significantly different. Rather than making a direct sequel or retreading the first film, Finn wanted to make something different but familiar. Aside from Kyle Gallner returning, the new cast included Naomi Scott, Lukas Gage, Rosemarie DeWitt, Dylan Gelula, and Raúl Castillo. With a bigger budget of $28 million, filming occurred between January and March 2024 in and around Hudson Valley. After tons of anticipation and hype, Smile 2 hit theaters in October 2024.

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    Synopsis

    Pop star Skye Riley (Naomi Scott) is preparing a comeback after struggles with substance abuse and a near-fatal car crash. Her mother/manager, Elizabeth (Rosemarie DeWitt), and their assistant, Joshua (Miles Gutierrez-Riley), constantly monitor her. Going behind their back, Skye buys pain medication from local drug dealer Lewis Frugoli (Lukas Gage), who’s been acting erratic. After raving about seeing something Skye can’t see, Lewis smiles as he bludgeons himself to death with a weight. Soon, she starts seeing visions of people smiling and terrifying her, which inadvertently lands her in more trouble. At the same time, Skye reconnects with her old friend, Gemma (Dylan Gelula), and confides in her about what’s happening. As the first concert of the tour approaches, Skye questions her sanity and debates quitting against her mother’s wishes. Will Skye regain her sanity and beat this entity, or will she be another victim of the smile?

     

    Review

    When I saw the first film, I was surprised at how good it was and how much I enjoyed it. Sure, the movie suffered from fake jump scares and borrowed from other movies, but Parker Finn showed plenty of potential. With Smile 2, Finn learned from the original’s criticisms and made a sequel that surpasses it and then some. Like its predecessor, the film explores themes of trauma and PTSD, along with guilt, redemption, and the pressures of stardom. Like Sosie Bacon in the first film, Naomi Scott is the central driving force, delivering an excellent performance. She shows plenty of vulnerability as her sanity deteriorates and her stress increases from the pressures placed upon her. The rest of the cast do a fantastic job, particularly Rosemarie DeWitt, Dylan Gelula, and Kyle Gallner. Also noteworthy is Ray Nicholson, son of Jack Nicholson, who delivers an equally wicked smile.

    Cinematographer Charlie Sarroff returns to deliver excellent camerawork and visuals that heighten the tension. Like before, plenty of overhead views, upside-down shots, and sweeping camera moves make the film feel more dynamic. Additionally, some quick-cut editing mixed with long tracking shots helps create a sense of unease that permeates throughout. Much like A Nightmare on Elm Street, there are moments when you’re unsure if what you see is real. Parker Finn does a great job putting you in Skye’s mindset and questioning everything around you as it unfolds. Also, the film earns its R-rating with tons of blood and gore, but it isn’t used gratuitously. Instead, the bloodier moments are more like the payoff to the tension that gradually builds as the scenes play out. Some scenes cut away from the gorier details and are just as effective as the bloodier scenes.

    While this film is much stronger than its predecessor, some of the original’s flaws creep in here. For instance, there are several jump scares like in the original, though they’re more earned and less frequent than before. Also, the second act tends to drag as there are scenes of nothing happening that go on for too long. Thankfully, things pick up in the third act as Skye struggles to defeat the entity and regain control. Some audiences might also bemoan that the movie doesn’t explain much about the entity causing this. I’m ok with the filmmakers leaving its nature vague, but if you’re looking for answers, you won’t find them here. Still, this is one of those rare instances where the sequel outdoes the original in many ways. Overall, Smile 2 expands on what made the first film work, delivering great characters, excellent cinematography, and a riveting story.

    Smile 2 opens on October 18th only in theaters.

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  • The Substance (2024)

    The Substance (2024)

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    Since she was a teenager, Coralie Fargeat has dreamed of becoming a filmmaker focusing on genre films. After graduating from La Fémis, she made her first short film, The Telegram, in 2003, which won 13 festival awards. She followed this up with the 2014 short Reality+ before making her feature film debut with 2017’s Revenge. The film won at the CinEuphoria Awards, the Calgary Underground Film Festival, and the Bucheon International Fantastic Film Festival. This success led to her getting to direct an episode of the Netflix series The Sandman. For her follow-up feature, Fargeat wrote a story that tapped into themes of feminism, beauty standards, and ageism. She signed Demi Moore, Margaret Qualley, and Ray Liotta, only for Dennis Quaid to replace Liotta after his death. After premiering at The Cannes Film Festival, The Substance hit US and UK screens in September 2024.

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    Synopsis

    On her 50th birthday, actress Elisabeth Sparkle (Demi Moore) discovers she’s being kicked off her long-running aerobics show. She learns from her producer, Harvey (Dennis Quaid), that she’s no longer hosting because of her age. After being hospitalized for a car crash, Elisabeth learns about The Substance, a drug that promises a better, younger you. The catch is that both the original and the duplicate must switch every seven days and maintain the other. Elisabeth orders The Substance and uses it, creating a younger duplicate, Sue (Margaret Qualley), that replaces her TV show. Despite sharing the same consciousness, Elisabeth and Sue clash, disregarding the supplier’s instructions to remain symbiotic. As Sue continues thriving, Elisabeth slowly deteriorates both mentally and physically as Sue drains the life out of her. But how far are either willing to go to maintain control, and is the price worth it?

     

    Review

    The Substance is one of the wildest, most clever, and most outrageous body horror films I’ve seen recently. You get the sense that filmmakers like John Carpenter, Brian Yuzna, and David Cronenberg inspired Coralie Fargeat. Like those directors, Fargeat managed to craft a cleverly satirical story mixed in with gruesome body horror and outrageous gore. This film isn’t for those with weak stomachs, as this film has pretty graphic imagery. Thankfully, there’s a gradual build-up to the gore so you can engage with the story and characters beforehand. You’ll find a biting satire of body image, society’s expectations, ageism, and the destructive power of celebrity. The cinematography exemplifies this message, showing women in intentionally provocative ways contrasted with otherwise repulsive imagery. Some may bemoan that not everything is explained, but that would detract from the film’s focus.

    Demi Moore gives easily the best performance of her career as the aging star Elisabeth Sparkle. She shows a more vulnerable side than before and ultimately gives herself over to the part. Seeing her gradually spiral out of control as she fights for control is mesmerizing, and she holds it together. Moore is living proof that, no matter how old you are, you can still give an excellent performance. Margaret Qualley also performs excellently as the younger duplicate Sue, the polar opposite of Elisabeth. Like Moore, she shows a lot of vulnerability and a more manipulative side that’s fun to watch. She knows what she’s got and uses it to her advantage, even if it drains her matrix. She and Moore are perfectly cast opposite one another. Even Dennis Quaid, who has limited screen time, steals the show as the delightfully sleazy and pompous producer.

    While it’s clear that other filmmakers influenced her, Coralie Fargeat manages to add her unique spin. This movie is one of those films that lives up to the hype thrown onto it, even surpassing expectations. Going into this, I had no idea what to expect, and I’m glad because going blind was ideal. It’s also surprising that the film is almost two and a half hours long, but it doesn’t feel like it. The movie moves so steadily that it goes by quickly without feeling like it’s rushing to the end. Much like Everything Everywhere All at Once, this film proves that there’s still some originality in Hollywood. If you have a strong stomach and are looking for something different and unique, this movie is highly recommended. Overall, The Substance is an instant classic with excellent performances, a cleverly wicked story, and outrageous body horror.

     

    Buy The Substance from Amazon: https://amzn.to/49dLOxI.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch The Substance (2024)

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  • Joker: Folie à Deux (2024)

    Joker: Folie à Deux (2024)

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    2019’s Joker grossed over $1 billion worldwide against a $55 million budget, becoming the sixth highest-grossing film of the year. The film also earned widespread acclaim, winning Oscars for Best Actor and Best Original Score on top of nine nominations. While writer/director Todd Phillips intended the movie to be standalone, Warner Bros. pushed for a sequel. Phillips and Joaquin Phoenix initially conceived of a Broadway sequel show, but they scrapped those plans due to COVID-19. In 2022, Phillips announced a sequel was in development, with a script written by him and Scott Silver. That summer, Lady Gaga announced her casting as Harley Quinn, along with Brendan Gleeson, Catherine Keener, and Jacob Lofland joining. Filming lasted from December 2022 to April 2023 in New York and Los Angeles with a substantial $200 million budget. After premiering at the Venice International Film Festival, Joker: Folie à Deux opened worldwide in October 2024.

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    Synopsis

    Two years after the last film, Arthur Fleck (Joaquin Phoenix) is locked away in Arkham State Hospital awaiting trial. While everyone believes that he’s guilty, his lawyer, Maryanne Stewart (Catherine Keener), believes he suffers from a split personality. One day, Arthur meets fellow patient Harleen “Lee” Quinzel (Lady Gaga), and the two fall head-over-heels for each other. Though Maryanne pleads for Arthur’s mental instability, Lee wants him to embrace his Joker personality and take charge. At the trial, Assistant District Attorney Harvey Dent (Harry Lawtey) doesn’t believe Arthur is mentally unwell but is fully aware. The trial becomes a media frenzy, with one side seeking the death penalty and the other making Arthur a hero. As Maryanne argues to try helping Arthur, Lee pulls him further and further into embracing who he truly is: Joker. The outcome of this trial will forever change Gotham City as we know it.

     

    Review

    You can say what you will about the original, but you can tell Todd Phillips wanted to make it. Joker: Folie à Deux wreaks of a sequel made only to capitalize off the first film’s success. This movie is such a jumbled mess of ideas that you wonder if anyone knew what they wanted to make. It’s part psychological thriller, part courtroom drama, and part musical, but none of these tones gel cohesively. While the concept of The Joker on trial has potential, it’s a thinly veiled excuse to dump tons of exposition. Whereas the original was well-paced and straightforward, this film is so all over the place that it’s hard to focus. It doesn’t help that the film is littered with many musical numbers that offer little to nothing to the story. That might’ve worked for the Broadway show, but it doesn’t translate well to film.

    To get into some of the positives, the performances across the board are good, with Joaquin Phoenix again excelling. As easy as it would’ve been to phone it in, Phoenix goes for it and commits himself to the part. Though unconventional, Lady Gaga does an excellent job as a reimagined Harley Quinn and has great chemistry with Phoenix. As out of place as the musical numbers are, Gaga is a talented singer, and Phoenix works well opposite her. Catherine Keener and Brendan Gleeson are terrific as always, and Leigh Gill has arguably the movie’s best scene. Lawrence Sher’s cinematography is excellent, Hildur Guðnadóttir’s score is as haunting as ever, and the production design is solid. The filmmakers did their best to retain the same grim and gritty feel from the previous film and succeeded. It’s too bad they didn’t devote as much time to the story.

    Discussing the story issues is challenging since they involve spoilers, but suffice it to say they’re rough. So much of this movie goes against what the first one established that it feels like an anti-sequel. As grim and nihilistic as the original was, you felt like you went on a fulfilling journey by the end. With this, you’re left with this feeling of fulfillment that makes you wonder if the trip was even worth it. I’m convinced that Warner Bros. forced Phillips to produce a sequel, and he retaliated by making this to spite them. It would explain all the scenes in the trailer that didn’t make the final cut that sell a different movie. At two hours and 18 minutes, the film is a slog to get through and not worth your time. Overall, Joker: Folie à Deux is a reminder that some movies should be left alone. 

     

    Joker: Folie à Deux is currently playing in theaters nationwide.

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  • Transformers One (2024)

    Transformers One (2024)

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    After the release of Transformers: Age of Extinction, Paramount set up a writer’s room for future films in the franchise. One idea that gained traction was an animated prequel that explored the origins of the Autobot-Decepticon war. Following his departure from Pixar in 2020, the studio hired Toy Story 4 director Josh Cooley to helm the project. Andrew Barrer and Gabriel Ferrari signed on to write the story, and Eric Pearson joined in on co-writing the script. Like the ’86 animated movie, the cast included stars like Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, and Keegan-Michael Key. Industrial Light & Magic handled the animation, blending the look of the G1 cartoon with Art Deco. Paramount gave the film a $75 million budget, though some sources claimed it’s closer to $147 million. Regardless, Transformers One premiered in Sydney in September 2024, with its US release following soon after.

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    Synopsis

    On Cybertron, the inhabitants have been suffering from an energy crisis after their power source, the Matrix of Leadership, disappeared. Their leader, Sentinel Prime (Jon Hamm), has led expeditions to the planet’s surface to find the Matrix without much luck. Meanwhile, mining robots Orion Pax (Chris Hemsworth) and D-16 (Brian Tyree Henry) uncover a hidden message with embedded coordinates. Said coordinates lead to the last known location of The Primes, a group of robots tasked with guarding the Matrix. Along with Elita-1 (Scarlett Johansson) and B-127 (Keegan Michael-Key), Orion and D-16 explore the surface of Cybertron. They find Alpha Trion (Laurence Fishburne), the last of the Primes, who bestows great power on our heroes. Unfortunately, he also reveals truths that shatter their reality, with D-16 furious and declaring vengeance. Will Orion and D-16 remain friends, and how will their decisions shape the future of Cybertron?

     

    Review

    The last few years have been great for the Transformers film franchise, and Transformers: One is no exception. I’d put this film on par with The Transformers: The Movie from 1986, which shares many similarities. For one, they can tell their stories in under two hours, putting them above any of the Michael Bay movies. Also, while both have a young audience in mind, older audiences can enjoy aspects of the film. In some regards, I’d say this is even better than the ’86 movie, though not without some caveats. Despite the ’86 movie’s enjoyability, the story feels cobbled together, and unless you’re a fan, you’ll be lost entirely. Here, the story is much more cohesive, and general audiences can get invested without prior knowledge of the franchise. There are plenty of nods and references for the fans, but most are not so overt that they’re distracting.

    Given that this was his first animated feature, Chris Hemsworth does a great job voicing Orion Pax. While there’s some influence of Peter Cullen, it’s clear that Hemsworth injected enough charisma to make the performance his own. Brian Tyree Henry is the biggest stand-out as the voice of D-16, bringing a side of Megatron never seen before. You see how he started as someone content with life and slowly grew to resent the authority he initially admired. The film shows how their lifelong friendship gradually deteriorates until it reaches a boiling point without feeling forced or sudden. Jon Hamm is also great playing an over-confident and smarmy Sentinel Prime, though it makes sense why he’s beloved. Scarlett Johansson and Keegan Michael-Key are solid in their respective roles, and Laurence Fishburne is excellent, as always. In general, the cast is great and helps to bring these characters to life.

    While known more for their effects work than their animation, ILM did a fantastic job bringing Cybertron to life. It looks incredible between the bright and colorful Iacon City, the dark and dinghy mines, and the organically rich surface. One of my only complaints is that some of the humor overstays its welcome, with jokes repeated ad nauseam. Thankfully, the film never knows when to dial the jokes back and focus on the more dramatic moments. Also, it’s easy to get lost in the action sequences, between all the bright colors, quick cuts, and flashy visuals. Still, the story and characters are strong enough that you still care what happens during the more action-heavy scenes. Still, regardless of your knowledge of the franchise or how old you are, there’s something for everyone to enjoy. Overall, Transformers: One will satisfy lifelong fans and newcomers to the ongoing franchise.

     

    Transformers One is currently playing in theaters nationwide.

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  • Speak No Evil (2024)

    Speak No Evil (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]Released in 2022, Christian Tafdrup’s Speak No Evil received widespread acclaim despite underperforming at the box office. The following year, Blumhouse Productions acquired the rights to remake the film for American audiences. The studio hired James Watkins, best known for The Woman in Black and Eden Lake, to write and direct. According to Watkins, this remake is the culmination of a discussion between him and Blumhouse that lasted 16 years. For the remake, Watkins chose to have Americans visiting a British family while retaining the original’s themes. In April 2023, actors James McAvoy and Mackenzie Davis signed on to star, with Scoot McNairy joining soon after. Filming occurred in Croatia and Gloucester that May, but the SAG-AFTRA strike suspended production until November. Following its NYC premiere, James Watkins’ Speak No Evil opened in theaters worldwide on September 13, 2024.

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    Synopsis

    Ben and Louise Dalton (Scoot McNairy and Mackenzie Davis) are vacationing in Italy with their daughter Agnes (Alix West Lefler). While there, they meet Paddy and Ciara (James McAvoy and Aisling Franciosi) and their mute son Ant (Dan Hough). Despite some reservations, the two families build a friendship, with the Daltons agreeing to spend the weekend with them. While things initially seem pleasant at their isolated countryside home, the Daltons, particularly Louise, start noticing odd things. Paddy and Ciara are open, carefree, and wild, whereas Ben and Louise are quieter and reserved. Things worsen when the Daltons notice Paddy becoming more unhinged and violent towards Ant while Ciara lets it happen. Through nonverbal cues, Ant reveals Paddy and Ciara’s dark secret to Agnes, signaling her parents that the vacation is over. What started as a pleasant getaway soon becomes a weekend of terror!

     

    Review

    Going into this, I had no idea what to expect, especially having not seen the original film. Judging this remake of Speak No Evil on its own merits, I found it enjoyably tense but not without problems. To get right into the positives, the cast, particularly James McAvoy, do a terrific job with the roles they’re given. While Split showed how he could be sympathetic and terrifying simultaneously, McAvoy manages to outdo that performance and then some. You initially like him because he’s charming, carefree, and calm, and he delivers his lines with tons of charisma. However, as time passes, you see the cracks in his facade, and he becomes more unhinged until he finally breaks. It’s similar to Kathy Bates in Misery, where she seems lovely and pleasant, but there’s something dark beneath that smile. McAvoy’s performance alone is worth the price of admission.

    Mackenzie Davis is also great as the vegetarian Louise, who quickly recognizes that things are somewhat off. She quickly takes charge of the situation and decides what to do without overshadowing her husband. Scoot McNairy as Ben is an interesting contrast to McAvoy’s Paddy, who is emasculated compared to Paddy’s take-charge attitude. While he makes some poor decisions, you see him progress to where he finally stands up and becomes a man. Aisling Franciosi works great off of McAvoy, playing up her demure quality while showing her sinister side. Dan Hough does a terrific job, especially considering his character can’t speak, relying on facial expressions and body language. As great as the cast is, many of their character arcs and progressions feel familiar and played out. It’s all handled well, but it’s nothing we haven’t seen in other movies.

    Also, the tone sometimes feels somewhat inconsistent, going from severe and tense to weirdly comedic and ludicrous. Granted, I saw it with an audience that talked back to the movie and laughed quite a bit. That said, I’m not sure if the comedic bits were supposed to be funny or if it was unintentional. Admittedly, the film has some genuinely funny dark humor, but I suspect it’s supposed to be more serious than comedic. That said, the third act is very entertaining, as our heroes hold themselves up against Paddy and Ciara. While the original supposedly had a bleaker ending, I think the more exciting finale works better for the remake. Still, this is an effective thriller that gradually builds tension until an explosive finale that keeps you hooked. Overall, Speak No Evil has issues, but the great cast and solid build-up make it worth a watch.

     

    Buy Speak No Evil from Amazon: https://amzn.to/40v6ZqL.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Beetlejuice Beetlejuice (2024)

    Beetlejuice Beetlejuice (2024)

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    Against a $15 million budget, Beetlejuice grossed $75 million, becoming the 10th highest-grossing film of the year. Additionally, the film was a critical success, winning the Oscar for Best Makeup and three Saturn Awards. Given its success, The Geffen Film Company wanted a sequel, with various writers coming on board to contribute scripts. Over the next decade-plus, Daniel Waters, Pamela Norris, and Kevin Smith either accepted or declined offers to rewrite the sequel. It wasn’t until 2011 that Warner Bros. hired Seth Grahame-Smith to write and produce the sequel with Burton. While Michael Keaton and Winona Ryder expressed interest, the studio scrapped the sequel in 2019 before resurrecting it in 2022. Under Plan B Entertainment, the sequel finally entered production, with many of the original cast and crew returning. After 36 years of development hell, Beetlejuice Beetlejuice finally hit theaters in September 2024.

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    Synopsis

    Lydia Deetz (Winona Ryder) now hosts a paranormal investigation show produced by her manager/lover, Rory (Justin Theroux). Tragically, Lydia gets word from her stepmother, Delia (Catherine O’Hara), that her father passed away. They pick up Lydia’s estranged daughter, Astrid (Jenna Ortega), who resents Lydia for focusing more on the show than her. After the funeral, Astrid meets a local boy, Jeremy (Arthur Conti), with whom she falls in love. Unfortunately, Astrid unintentionally opens a portal to The Afterlife, leaving Lydia with few options to save her daughter. She reluctantly summons Betelgeuse (Michael Keaton) to help rescue Astrid, which he’ll do if Lydia marries him. Meanwhile, Betelgeuse’s ex-wife Delores (Monica Bellucci) is after him, and ghost detective Wolf Jackson (Willem Dafoe) is in pursuit. Will Lydia repair the relationship with her daughter, and what devious schemes does Betelgeuse have cooking this time?

     

    Review

    Given how long it’s been since the original, it’s remarkable that Beetlejuice Beetlejuice is as good as it is. While it lacks the simplicity and even pacing of the first film, it retains its wild imagination and zany energy. You can tell that Tim Burton genuinely wanted to make this rather than the studio demanding he make a sequel. Like the first film, the production design and practical effects look incredible and add to the movie’s charm. While there are some CGI effects, they’re used in tandem with the practical effects rather than completely overshadowing them. Sadly, the memorable stop-motion effects fell victim to the CGI, but I understand it’s an expensive and time-consuming art form. To the VFX artists’ credit, they at least gave the CGI the same movement and fluidity as traditional stop-motion animation. Also, Danny Elfman delivers an excellent score, matching the original’s dark yet playful sensibilities.

    Like before, Michael Keaton is a joy to watch as he chews the scenery and spouts excellent one-liners. Thankfully, he’s only given slightly more screen time than the original instead of overloading the audience with him. Winona Ryder and Catherine O’Hara shine as older Lydia and Delia, and it’s great to see how their characters evolved. Jenna Ortega is also great as Lydia’s estranged daughter, bringing some of the same cynicism Ryder brought to the original. Justin Theroux and Willem Dafoe have their standout moments, and Danny Devito has a funny cameo as an undead janitor. Arthur Conti is also solid as Astrid’s love interest, and his reveal halfway into the movie is unexpected. Unfortunately, despite a fantastic introduction, Monica Bellucci feels underutilized and inconsequential to the film, only showing up here and there. You could’ve written her out, which wouldn’t have changed anything.

    That leads me to my biggest issue with the movie: a lack of focus and too many subplots. One of the reasons the original worked so well was that it had a relatively simple story to follow. Sure, there were a few subplots, but they tied into the main story and were resolved by the end. With the sequel, it feels like a new plot starts every 30 minutes only to get wrapped up haphazardly. Still, there’s never a dull moment, and the film flies by at an hour and 44 minutes. For a sequel to an iconic movie made almost 40 years later, this is probably the best we could’ve gotten. It’s not on par with legacy sequels like Mad Max: Fury Road or Top Gun: Maverick, but it could’ve been much worse. Overall, Beetlejuice Beetlejuice is a flawed but enjoyable companion piece to the 1988 classic.

     

    Beetlejuice Beetlejuice is currently playing in theaters nationwide.

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